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Into the Fog: Fréwaka: Fréamhacha Drifts Through Grief and Myth

20 Sunday Apr 2025

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Aislinn Clarke’s hypnotic folk horror enchants the senses, but its symbolic weight and languid pace may leave some viewers lost in the mist.

Aislinn Clarke’s Fréwaka: Fréamhacha is an Irish folk horror steeped in grief, mythology, and atmosphere — a hypnotic, slow-burning tale that seduces the eye even as it keeps the heart at a distance. Cloaked in shadows and silence, the film follows Shoo, a care worker carrying her own unresolved pain, who’s sent to a secluded village to tend to an agoraphobic woman terrified of both her tight-knit neighbours and the Na Sídhe — ancient, otherworldly beings from Irish folklore.

Clarke, previously lauded for her sharp direction in The Devil’s Doorway, leans further into abstraction here. The cinematography is stunning, bathed in misty blues and deep greens, echoing the isolation and fractured psyche of its characters. Symbolism runs thick, and the film often feels like a visual poem mourning lost time and personal trauma.

But where Fréamhacha excels in tone, it falters in engagement. Narrative threads unravel into the ether, characters remain emotionally remote, and the pacing — glacial by design — asks more patience than it rewards. For all its visual allure and thematic ambition, the film’s dreamlike drift can feel aimless, as if lost in the very fog it conjures.

The Prognosis:

Clarke’s vision remains singular. Fans of folk horror who appreciate the meditative and the metaphorical may find something to latch onto. But for others, Fréamhacha risks becoming a beautiful but intangible whisper — haunting, yes, but fleeting as smoke in the trees.

  • Saul Muerte

Dead Mail Delivers Style, But Forgets the Substance

15 Tuesday Apr 2025

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An 80s-inspired mystery with a killer synth score gets lost in its own overwritten posturing.

There’s something undeniably intriguing about the premise of Dead Mail—a mysterious cry for help lands in a 1980s post office, pulling a dead letter investigator into the orbit of a kidnapped keyboard technician. It’s weird, it’s retro, and it’s got all the makings of an offbeat cult thriller. Unfortunately, it never quite delivers on that potential.

What starts as a stylised mystery told through a unique lens quickly buckles under the weight of its own self-importance. The dialogue, while initially compelling, becomes increasingly laborious—a dense and indulgent spiral of overwritten musings that feel more like cinematic wankery than meaningful character development. The film leans hard on its quirkiness, but instead of building tension or intrigue, it feels like it’s stalling for time.

Where Dead Mail does shine is in its sonic world. The synth-heavy score pulses with personality, creating an ambient hum of unease that subtly underscores the surreal premise. There’s a genuine love for the analog here—tape decks, clunky tech, and circuit boards become part of the storytelling language, and the music stitches it all together with a retrofuturist flair. The score doesn’t just support the film—it elevates it, becoming its own kind of character: detached, nostalgic, and oddly haunted.

That said, atmosphere alone can’t carry a film this narratively inert. As Dead Mail lingers in endless corridors of conversation and cryptic visuals, the tension flatlines. There’s too much effort in trying to sound profound and not enough substance to back it up. What could have been a tight, unsettling dive into lost messages and fractured identity ends up feeling like a late-night transmission from the Twilight Zone that didn’t quite come through.

The Prognosis:

For all its eccentricities, this dead letter is best returned to sender.

  • Saul Muerte

Dead Mail will be streaming on Shudder from Fri 18th Apr.

Preachy and Painless: Shadow of God Lacks Spirit

08 Tuesday Apr 2025

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An exorcism film with nothing to exorcise but your patience.

Exorcism horror is a subgenre rich with potential—questions of faith, frailty, and fear, all wrapped in layers of the unknown. Unfortunately, Shadow of God, the latest Shudder original, squanders that potential with glacial pacing, overwrought storytelling, and bargain-bin visual effects that break whatever immersion its lofty premise tries to build.

The film follows Father Mason Harper (Mark O’Brien), a Vatican exorcist drawn back to his hometown after a mysterious string of clergy deaths. What should be a chilling homecoming quickly devolves into a murky theological slog, especially when Mason’s long-thought-dead father, Angus (Shaun Johnston), reemerges—changed, and possibly possessed… not by the devil, but something supposedly divine. It’s a neat inversion on paper, but in execution, it’s all empty sermon and no soul.

Director Michael Peterson leans heavily into a tone of self-importance, mistaking laborious dialogue for depth. The film drowns in exposition and symbolism so on-the-nose it feels like you’re being bludgeoned by scripture. What could have been a taut, unsettling exploration of corrupted holiness instead becomes an exercise in patience.

Worse still are the effects. When Shadow of God tries to finally erupt into spectacle—visions, possessions, biblical cataclysm—it falters hard. Cheap CGI and awkward choreography undercut whatever tension might’ve remained, ejecting the viewer from the already tenuous atmosphere. It doesn’t help that the performances, while earnest, are often lost in the noise of a bloated script and uncertain direction.

Mark O’Brien does what he can with a lead role that demands more whispery brooding than range, while Shaun Johnston’s Angus never fully sells the “divine possession” angle. Jacqueline Byers, so compelling in Prey for the Devil, is underused here. And while the supporting cast (Josh Cruddas, Adrian Hough, David Haysom) put in respectable work, they’re ultimately swallowed by the film’s somber, meandering tone.

The Prognosis:

Shadow of God wants to wrestle with grand themes—faith, legacy, divine intervention—but the execution is so leaden and clunky that it all feels like a sermon no one asked to hear. Instead of soul-searching, we get soul-sapping.

  • Saul Muerte

From Hell House to Ashland Falls: Cognetti’s Eerie Evolution

06 Sunday Apr 2025

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The Hell House LLC director slows things down for a moody, multi-perspective mystery.

A slow-burning mystery from the creator of Hell House LLC, soaked in dread and small-town secrets.

After a family tragedy, Chuck Wilson (Joe Falcone) moves to the quiet town of Ashland Falls with his wife Maria (Elizabeth Vermilyea) and younger sister Isabelle (Kathryn Miller), hoping for a fresh start. But peace proves elusive as the trio becomes entangled in the unsettling lore of their new home—specifically the ominous mystery surrounding a woman named Helen Foster. As the story unfolds from the perspectives of each family member, the true nature of Ashland Falls begins to take shape—and it’s far from comforting.

Stephen Cognetti, best known for his Hell House LLC trilogy, steps away from the chaos of found-footage terror to deliver a more measured, psychological horror in 825 Forest Road. The scares are subtle, the pacing deliberate, and the dread seeps in slowly as the audience is invited to peel back the layers of each character’s experience. By splitting the narrative into three viewpoints, Cognetti crafts an eerie puzzle box of grief, guilt, and unresolved trauma, all tethered to a town that harbors something rotten at its core.

While some may find the pacing too slow or miss the jolting immediacy of Hell House LLC, there’s a quiet confidence in Cognetti’s restraint. He’s developing his voice beyond found footage, proving that he can unsettle audiences without relying on the genre’s usual tricks. The performances—especially Vermilyea as the emotionally fraying Maria—ground the film and help build a creeping sense of paranoia.

The Prognosis:

825 Forest Road may not fully capitalise on its premise, and its ambiguity might frustrate some, but it marks another intriguing step in Cognetti’s horror journey. It’s a film that whispers rather than screams—but it leaves behind a chill all the same.

  • Saul Muerte

825 Forest Road is now streaming on Shudder.

The Rule of Jenny Pen (2025) – A Chilling Game of Fear and Manipulation

23 Sunday Mar 2025

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Shudder continues its streak of unsettling original films with The Rule of Jenny Pen, a psychological horror-thriller that sinks its claws into the vulnerability of aging and the horrors lurking in the quiet corners of a retirement home. Anchored by powerhouse performances from Geoffrey Rush and John Lithgow, this eerie and claustrophobic tale crafts an atmosphere thick with dread, proving that terror knows no age.

The film follows Judge Stefan Mortensen (Rush), a once-powerful legal mind now reduced to a shadow of himself after suffering a debilitating stroke. Sent to a secluded rest home to recover, Mortensen soon finds himself at odds with Dave Crealy (Lithgow), a seemingly affable resident whose innocent facade masks a twisted, controlling presence. Crealy rules the facility through an insidious game known as “The Rule of Jenny Pen,” using a disturbing dementia doll as both his mouthpiece and his weapon. As Mortensen fights to expose the horrors unfolding around him, he realises that no one believes him—leaving him to take matters into his own frail but determined hands.

What makes The Rule of Jenny Pen so compelling is its setting—an elderly care facility rarely seen in horror, yet rife with an inherent sense of powerlessness. The film leans into that, drawing horror not just from Crealy’s psychological torment but from the indifference of the staff, the isolation of its residents, and the fear of losing one’s agency. Director James Ashcroft (Coming Home in the Dark) masterfully builds tension, blending psychological horror with moments of outright terror as Crealy’s grip over the home tightens.

Rush and Lithgow are mesmerising, delivering two of the most sinister performances in recent memory. Lithgow, in particular, is chilling—his portrayal of Crealy is equal parts charming and horrifying, a villain who wields his dementia doll like a twisted totem of authority. Meanwhile, Rush imbues Mortensen with a tragic, desperate resilience, making his struggle against Crealy both gripping and deeply affecting.

While The Rule of Jenny Pen does veer into some familiar horror tropes in its final act, it remains a uniquely unsettling experience. With its fresh setting, masterful performances, and an unnerving psychological edge, reminding us that the most dangerous monsters aren’t always supernatural, and that horror can fester in the most unexpected places.

  • Saul Muerte

The Rule of Jenny Pen will start streaming on Shudder from Fri 28th March

Bloody Axe Wound (2025) – A Slasher with Sharp Ideas but a Blunt Edge

17 Monday Mar 2025

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Shudder’s latest exclusive, Bloody Axe Wound, comes swinging with a promising concept—mixing slasher horror with media satire—but ultimately stumbles in execution. Set in the quiet yet bloodstained town of Clover Falls, the film follows Abbie Bladecut (Sari Arambulo), a teenager struggling with the weight of her family’s gruesome legacy. Her father, Roger Bladecut (Billy Burke), has turned murder into a business, capturing real-life killings and distributing them to eager viewers. But as Abbie begins questioning the family trade, she’s forced to decide whether to embrace the cycle of carnage or carve out her own path.

At its best, Bloody Axe Wound delivers a wickedly fun premise, bolstered by strong performances. Arambulo shines as Abbie, balancing vulnerability and determination, while Molly Brown (Dexter: Original Sin) brings a sharp edge as her friend Sam Crane. Billy Burke’s Roger exudes a sleazy charisma, making his character’s justifications for his twisted business both unsettling and eerily believable. There’s also a noteworthy cameo from Jeffrey Dean Morgan, whose presence adds some weight to the film, even if his role is fleeting.

However, despite its engaging setup, the film begins to veer off course as it struggles to sustain its own momentum. The biggest issue lies in its execution of the central premise—who exactly is filming these supposed “real” murder videos? The film flirts with the idea of voyeuristic horror and true crime obsession but never fully commits to exploring the logistics of its own mythology. Instead, it throws in a few late-game twists that feel more like distractions than revelations.

Director Matthew John Lawrence (Uncle Peckerhead) crafts some effectively gory set pieces, but the film’s tone wavers between biting satire and straight-up slasher mayhem, never fully committing to either. 

The Prognosis:

When it works, Bloody Axe Wound is an enjoyably grim ride with moments of inspired horror. When it falters, it leaves you questioning the gaps in its own logic. Still, there’s enough blood-soaked fun to make it worth a watch—just don’t expect it to leave a lasting mark.

  • Saul Muerte

Little Bites (2025) – A Slow Burn That Barely Smolders

16 Sunday Feb 2025

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Premiering exclusively on Shudder and AMC+, Little Bites is the latest horror offering from director Spider One, known for his work on Allegoria. This time, he crafts a slow-burn psychological horror that takes its time unraveling its mysteries—perhaps too much time. While the film eventually delivers a striking conclusion, the road to get there is uneven, relying on atmosphere and suggestion rather than sustained tension or narrative drive.

At the heart of the film is Krsy Fox, who also edited the feature. She delivers a subdued but emotionally raw performance as a single mother grappling with an unseen force, her weary expressions and hushed delivery emphasising the toll of her situation. The film leans heavily on her ability to carry the story, and while she does an admirable job, the script doesn’t always give her enough to work with. For much of the runtime, she feels trapped in a cycle of quiet suffering, with little forward momentum until the film’s final stretch. When she finally gets the chance to break free in the climax, she commands the screen—but by then, some viewers may have already checked out.

One of Little Bites‘ most notable draws is the inclusion of horror icons Barbara Crampton and Heather Langenkamp. Unfortunately, their roles are brief, more like cameo appearances than substantial contributions to the narrative. While their presence adds credibility and a nostalgic thrill for genre fans, it’s ultimately underutilised, leaving the film feeling like a missed opportunity to fully embrace its horror lineage.

Visually, the film is draped in a bleak, muted aesthetic, reinforcing the protagonist’s isolation and dread. Spider One’s direction is methodical, favoring slow, creeping tension over jump scares or overt horror spectacle. While this approach has the potential to be effective, the film struggles with pacing, often lingering on scenes that don’t add much beyond mood-setting. The ambiguity of the horror elements is intriguing at first but becomes frustrating as the film continues to withhold key developments for too long.

Despite these flaws, Little Bites does have its moments, particularly in its final act. The slow burn finally ignites into something far more compelling, delivering a climax that is both visceral and visually impactful. It’s a glimpse of what the film could have been had it maintained that level of engagement throughout.

The Prognosis:

Ultimately, Little Bites is a film that asks for patience—perhaps too much. While Krsy Fox gives a solid performance and the conclusion lands with force, the journey to get there is underwhelming. For those who appreciate methodical psychological horror, there’s something to admire here, but for most, the film’s lethargic pace and lack of urgency may leave them craving something with more bite.

  • Saul Muerte

Little Bites will be streaming on Shudder from Fri 21st Feb.

The Dead Thing (2025) – A Haunting Descent into Obsession and the Unknown

09 Sunday Feb 2025

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Shudder’s latest original, The Dead Thing, is a slow-burning, atmospheric descent into grief, trauma, and something even more unearthly. Directed with a steady, unsettling hand, this supernatural thriller refuses to play by conventional horror rules, opting instead for a creeping dread..

At the heart of the film is Alex (Blu Hunt, The New Mutants), a young woman adrift in a sea of meaningless encounters, numbed by her own detachment from the world. When a seemingly random dating app match leads her to Kyle (Ben Smith-Petersen, Mad Max: Fury Road), their connection is instant, electric—yet fleeting. The morning after, Kyle vanishes without a trace, leaving behind an aching absence that sends Alex spiraling into a desperate search for answers. What she uncovers is a chilling revelation that warps the boundaries of reality, dragging her into an inescapable cycle of obsession, dependence, and something far darker than she could have imagined.

Blu Hunt delivers a powerhouse performance, embodying Alex’s hollowed-out existence with eerie precision. Her portrayal of emotional disconnection makes her eventual unraveling all the more compelling, as she clings to Kyle in a feverish attempt to grasp at something—anything—real. The film’s hypnotic pacing mirrors her descent, pulling the viewer into a suffocating atmosphere of existential dread.

What sets The Dead Thing apart is its layered exploration of trauma, not just in the psychological sense, but in the way it fractures time, memory, and even space. The film flirts with the astrophysical, hinting at horrors that exist beyond human perception, yet tethered to the deeply personal. It’s an unnerving blend of body horror and cosmic unease, where love and terror become indistinguishable.

Director Elric Kane crafts a film that rewards patience. Those expecting conventional horror beats may find themselves frustrated, but for those willing to embrace its methodical pacing and brooding atmosphere, The Dead Thing delivers a uniquely unsettling experience. With haunting imagery, a skin-crawling score, and a gut-punch of an ending, it cements itself as one of Shudder’s most memorable releases in recent years.

The Prognosis:

A terrifying meditation on trauma and the lengths we go to feel alive again, The Dead Thing lingers like a half-remembered nightmare—one you might not want to wake up from.

  • Saul Muerte

The Dead Thing will stream on Shudder from Fri 14th Feb.

New Life (2025): Strong Performances Can’t Save a Meandering Plot

24 Friday Jan 2025

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John Rosman’s New Life presents itself as a high-stakes thriller laced with mystery and apocalypse. With Sonya Walger and Hayley Erin anchoring the film, their commendable performances provide much-needed gravity to a narrative that struggles to find its footing. Unfortunately, even their efforts can’t fully redeem a story that drags its way through prolonged build-up before stumbling into its climactic moments.

The plot follows a mysterious woman on the run and a resourceful fixer tasked with tracking her down. Their entwined fates drive the film’s central tension, but the execution is hindered by pacing issues and an over-reliance on cryptic storytelling. While the promise of apocalyptic stakes looms in the background, the narrative spends too much time spinning its wheels, leaving viewers yearning for something—anything—to justify the drawn-out setup.

When the film finally pivots to a zombie/plague-like outbreak, it injects a much-needed sense of urgency. The chaotic and visceral energy in these moments hints at what the film could have been had it embraced this intensity earlier. Unfortunately, by the time the action kicks in, the payoff feels like too little, too late, leaving the audience more exhausted than exhilarated.

Despite the lacklustre pacing, Sonya Walger and Hayley Erin stand out as the film’s saving grace. Walger brings a steely determination to her role, while Erin portrays vulnerability and resilience with equal skill. Their dynamic holds the viewer’s attention even as the story falters, offering glimpses of what could have been a more compelling character-driven thriller.

Rosman’s direction showcases moments of visual flair, particularly in the film’s apocalyptic sequences, but these flashes of brilliance are undermined by a script that stretches thin. The potential for a gripping, high-stakes narrative is evident but remains unrealised, bogged down by a lack of momentum and clarity.

New Life ultimately feels like a missed opportunity—a story with intriguing elements and strong performances that’s let down by uneven execution. While the film’s latter half provides some excitement, it can’t quite overcome the sluggish pacing and underdeveloped narrative that precedes it.

If you’re a fan of slow-burn thrillers and compelling lead performances, New Life might hold some appeal, but for most, it’s likely to be a frustrating watch.

  • Saul Muerte

New Life will be streaming in Shudder from Monday 27th Jan.

The Creep Tapes: Episode 6 (Mom (and Albert)) Review

13 Friday Dec 2024

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Shudder Original Series
Series Premiere Date: December 13, 2024

As The Creep Tapes bows out with its final episode, Mom (and Albert) delivers a potent blend of psychological unease and familial dysfunction. Taking the story back to Josef’s roots, this episode ventures into the unsettling realm of the family home, peeling back layers of his psyche while injecting a fresh dose of tension with the titular Albert—his mother’s new lover.

The shift in setting immediately distinguishes this episode. The familiar, impersonal backdrops of previous entries give way to the suffocating intimacy of a childhood home. It’s a place that should offer comfort but instead brims with latent tension. Josef’s arrival feels less like a homecoming and more like an invasion, with every exchanged glance and clipped remark between him and his mother steeped in unspoken history.

Enter Albert, a seemingly mild-mannered addition to the household, whose presence tips the power dynamics into dangerous territory. Played with an unsettling mix of charm and obliviousness, Albert becomes a lightning rod for Josef’s simmering rage and jealousy. Their interactions veer between awkward civility and veiled hostility, and as the cracks in Josef’s mask widen, it becomes clear that Albert is more than just an unwelcome guest in Josef’s eyes—he’s a symbol of everything Josef feels he’s lost.

The direction here is particularly sharp, leaning into uncomfortable silences and tight framing that captures the oppressive weight of these relationships. The episode’s tension builds methodically, leading to a climactic moment that is equal parts shocking and darkly comedic—a trademark of the series. The “titillating” conclusion, while provocative, feels earned in the context of the episode’s exploration of power, control, and Josef’s fractured psyche.

What makes Mom (and Albert) so effective is its ability to subvert expectations. Where previous episodes leaned heavily into Josef’s control over others, this installment strips him of his dominance, leaving him exposed and vulnerable. It’s a bold move for a finale, challenging the audience to reconsider their understanding of Josef while providing an unsettling endnote to his arc.

Final Thoughts:
Mom (and Albert) is a fittingly twisted send-off for The Creep Tapes, doubling down on the series’ psychological and emotional complexity. By juxtaposing Josef’s past with his present and introducing a disruptive force in Albert, the episode underscores the fragility of Josef’s carefully constructed persona. As the series concludes, it leaves us with a lingering sense of dread—and a morbid curiosity about what lies ahead for Josef.

  • Saul Muerte

The Creep Tapes Series are currently streaming Exclusively on Shudder and AMC+